"Skyfall" is a theatrical film in the same way that its director, Sam Mendes, is a theatrical filmmaker. That is, its approach to organizing space for an audience (the camera lens) is noticeably stagey. I mean that in a "value-neutral" way. I just mean the frame is frequently used as a proscenium and the images are action-tableaux deployed for a crowd -- whether it's the designated audience surrogates in the movie (bystanders or designated dramatis personae), or the viewers in the seats with the cup-holders. That's not to say it's uncinematic (it's photographed by the great Roger Deakins!), but many of the set-pieces in "Skyfall" are conceived and presented as staged performance pieces.

Nearly every scene in "The Phantom," the Season 5 finale of "Mad Men," conjures a ghost from the show's past. "Mad Men," like many great series from "Hill Street Blues" to "SCTV" to "The Sopranos," has always been exceptionally good at this (see "The Long Walk"), setting images, gestures and emotions reverberating off one another across episodes and seasons. The series has a memory, and the curse of memory is a primary theme of "The Phantom," which is why the episode is composed as it is. As Nancy Sinatra sings in that final song:

You only live twice, or so it seems,
One life for yourself and one for your dreams.

(Spoilers from here on out.)

That's a James Bond theme song, from "You Only Live Twice" (1967) -- and it's the second Bond theme we hear in the episode, after Herb Alpert & the Tijuana Brass bite into Burt Bacharach's theme from the James Bond parody "Casino Royale" (1967) at the weekday matinée where Don (the suave, masculine Bond of New York advertising) runs into Peggy. (The Beatles, who have figured prominently in Seasons 4 and 5, released "Help!" in 1965 and it was in part a 007 parody, too -- especially the John Barry-like orchestral music written by George Martin.) Echoes and repetitions are everywhere.